Punch, or the London Charivari

d Orestes, that absorbs the interest; and, as to what becomes of Cyril and his Merry Monks, of Philammon (which, when pronounced, sounds like a modern Cockney-rendering of PHILIP HAMMOND, with the aspirate omitted and the final "d" dropped), of old Theon (who never appears but he is immediately sent away again, and therefore might be termed "The-on-and-off-'un"), and, finally, of even that charming specimen of a Girton Girl-Lecturer on Philosophy Hypatia herself, well--to adopt HOOD'S couplet about the Poor in London,--

"Where they goes, or how they fares, Nobody knows and nobody cares."

The entire interest is centred in Issachar, and had the author devised some strong dramatic climax (such as occurs in that play of SARDOU'S where SARAH B. stabs PAUL BERTON) with which to finish the piece, when the Prefect should have been killed either by Issachar or by Miriam (SARDOU would have made Issachar's daughter th